Jughead transcript
Episode 3 - Written by: Elizabeth Sarnoff and Paul Zbyszewski Directed by: Rod Holcomb ---- Act 1 - A small, colorful beach market on a tropical island. Handmade canopies shelter tables covered with cans and jars of staple goods and local produce. Goat kids are tied off to stakes in the sand, while human kids romp free. A fisherman returns with his catch in a small boat. Indistinct conversations in a Filipino dialect can be heard. Overturned plastic buckets form the seats and an industrial cable spool the table of a makeshift café. Many dark-skinned hands at once plunk bills of an unfamiliar currency onto a table. A ragtag group of men shout in a Filipino dialect inside of the darkened wooden garage, bicycle wheels and hula hoops hanging from the walls. A lone incandescent light bulb hanging from the ceiling illuminates what appears to be a very intense gambling game. An ashtray full of butts and half-downed tumblers of liquor litter the table. Back out in the market stalls, Desmond runs, and stops a large man with a hand to the man's chest. DESMOND: Efren Salonga? moves on, the large man looking puzzled. Desmond whirls around, shouting at no one in particular. DESMOND: Ef—Efren Salonga! halts a bare-chested man. DESMOND: Efren Salonga? inside the garage, shouting in Filipino continues. Back out in the market, Desmond shouts to anyone who will listen. DESMOND: Efren Salonga! consults a piece of paper he carries in his hand, then shouts more desperately than ever. DESMOND: Efren Salonga! in the garage, the shouting continues. Desmond pushes aside a thin curtain of strands of hanging beads and shouts once more. DESMOND: Efren Salonga! dozen or so gamblers and onlookers inside the garage halt their racket and look up at Desmond, who looks around at each of them, holding up his paper, and repeats again: DESMOND: Efren Salonga? dirty-faced gambler sitting at the table speaks up suspiciously. SALONGA: Who are you? DESMOND: Are you the doctor? SALONGA: Yes. What's the matter with you? ---- later, two sets of legs race down a wooden dock. A sign reading "MABUHAY" welcomes maritime wanderers to the Filipino port. Desmond leads Salonga, who carries a black doctor's bag, around a corner of the docks. DESMOND: You're sure you know what you're doing, yeah? SALONGA: Yes, yes! DESMOND: Because there's a lot of blood, man! leaps aboard a sailboat... SALONGA: How much blood? down the hatch to a dim below-deck... DESMOND: I'm coming, Penny! a woman screams in pain. DESMOND: It's okay, Pen. We've got a doctor. PENNY: Where have you been?! DESMOND: It's gonna be okay. It's gonna be okay. Okay, here you go. cradles Penny's head in his arms. Penny groans. She is large with child, and evidently in labor. DESMOND: Okay. Just breathe, Penny, okay? J—just breathe. lays a clean blanket down at the end of the bed. PENNY: Oh! Panting DESMOND: Breathe. PENNY: I can't breathe. DESMOND: You're doing great. PENNY: I can't— doctor, now wearing latex gloves, removes a pair of forceps from his bag of instruments and gets in closer. DESMOND: You're doing great, okay. Okay, just be strong, yeah? Okay. PENNY: and moaning Oh, make it come out! DESMOND: Just be strong. moans as the doctor begins to work. SALONGA: Hold it. Hold it. PENNY: I can't! I can't! Stammers DESMOND: Yes, you—yes, you can, Penny. SALONGA: Push! Push! screams. DESMOND: Okay, push now, Penny. Push. Now! continues screaming. Large beads of sweat cover her torso and face. DESMOND: Come on, Penny. That's it. SALONGA: Push! DESMOND: It's coming. Come on, Penny. SALONGA: Push! Harder! DESMOND: I can see the head! SALONGA: Harder! DESMOND: I can see the head! SALONGA: One more time! Push! DESMOND: I can see it. It's just coming. continues screaming. DESMOND: It's coming! It's coming! You've got it! SALONGA: Last time! Yeah! DESMOND: Oh my God, Penny. screams give way to elated panting as a baby's cry can be heard. SALONGA: You got it! sobs and gasps. DESMOND: You did it. Oh, my God, Penny. You did it. SALONGA: It's a boy! her eyes, Penny laughs. The newborn cries a tiny cry. Penny reaches up and kisses Desmond. DESMOND: Whispers I love you, Penny. I love you. doctor hands the baby to Penny, wrapped in a blanket. DESMOND: Oh, oh, he's beautiful. Beautiful. Oh, my God. He's so beautiful. Oh, my God. baby coos. Penny smiles. PENNY: I love you. DESMOND: I love you. kisses her. DESMOND: I love you. baby coos. ---- off-Island - A toddler with overgrowing blonde curly hair is wrapped in a white sweater and sits on his father's lap. Water laps up against the side of the sailboat, and wind laps at its sail, as it cruises through calm waters. It is night. DESMOND: Pointing Look. Right out there. child looks. The horizon is dotted with lights. DESMOND: Beyond where you can see, there's—there's an island, and it's a very special island. Chuckles I left it a long time ago. I never thought I'd see it again. ascends from below deck. DESMOND: It's called Great Britain. And the most beautiful part of the island is Scotland, and that's where your daddy's from. There's mountains and glens and monsters in deep lochs, and... and it's where your mummy and daddy... fell in love. PENNY: It's also where he broke her heart. DESMOND: Yeah, well, I... I thought I'd leave that wee bit out of it. PENNY: You also left out the bit about his grandfather—the man who sent a boat to the Island to kill all Daddy's friends. DESMOND: We'll be in and out. He'll never know we're here, Penny. PENNY: Don't underestimate him, Desmond. If he finds out we're here, I don't know what he'll do. DESMOND: But this has nothing to do with your father, Penny. We are here because of Daniel Faraday. Sighs What he told me—that everyone on that island is in danger, and I am the only one that can help them. I have to do this, Penny. ---- - A single-file line of survivors—Faraday, Miles, Charlotte, and two other men from Oceanic Flight 815 who survived last night's ambush—trek through grasses and leafy plants 10 feet high. FARADAY: Are you sure that's what he said? MILES: Yeah, Sawyer said to meet at the creek, so unless he got torched by a flaming arrow, that's where he and everyone else should be. two men push past Miles and Faraday. Faraday falls to the back of the line and puts an arm on Charlotte's shoulder. FARADAY: Hey, how's your headache? CHARLOTTE: Sighs Worse, but considering we're running for our lives, I'm not gonna complain. FARADAY: You have any dizziness or double vision? stops in his tracks. CHARLOTTE: Both, actually. Why do you look so worried? Is it because you know what's happening to me? FARADAY: her Listen to me. Nothing is gonna happen to you. Nothing. I won't let it. MILES: Hey, we're here! creek. MILES: Some rendezvous. It's just us. FARADAY: Sighs Well, we should probably wait, see if they show up. They could be right behind us. CHARLOTTE: Yeah, or they came and left. MILES: Or they're dead. FARADAY: Miles, that right there, that kind of attitude... not exactly what we need right now. People are scared enough as it is. Miles—Miles? notices a white tripwire running near the creek bank, near where the two other Oceanic Flight 815 survivors are wandering around. He moves to trace the tripwire to a Claymore mine marked "FRONT TOWARD ENEMY". MILES: Wait! Don't move! an explosion of black earth erupts and one of the two men is thrown backward into the creek. Another explosion of white erupts underneath him in the water. MAN: Aah! second man just watches until an instant later another loud explosion and eruption of dirt comes from behind him, sending his body into the creek, too. Faraday pushes Charlotte to the ground, and Miles similarly hits the deck as two more explosions go off near him. The water of the creek is strewn with bits of floating rock and debris as the scene clams down. Faraday pants as he looks around. A man runs out of the jungle carrying a bow and arrow. Then another, the same. Then two more, all in drab olive Army clothing. A fifth is there too, all pointing their arrows at Faraday, Charlotte, and Miles. A rifle cocks somewhere. Out steps a beautiful young blonde woman, no more than a teenager still, followed by another man in fatigues. She points the rifle at the group, who are still on the ground. YOUNG BLONDE HOSTILE: accent Who's in charge here? MILES: Faraday He is. points the rifle over to Faraday and slowly closes in on him. He tries to raise his hands the best he can. YOUNG BLONDE HOSTILE: You just couldn't stay away, could you? Act 2 - Desmond and Penny's sailboat is docked on the Thames. Inside the boat, Penny opens the door to the master sleeping quarters, where Desmond sits on the queen-size bed putting on his socks and shoes. Penny enters and closes the door. DESMOND: Did he finish his breakfast? PENNY: Yeah. Gave me a bit of a fight, but he listens in the end... sets down a blue coffee mug on the endtable on her side of the bed... PENNY: ...unlike his father. then sits down on the soft bed. DESMOND: Sighs Look, honey, all I have to do is find his mother, tell her he's still on the Island, and then I'm done with this for good. PENNY: Why now? I mean, if he told you all this on the Island, why didn't you remember it until two days ago? DESMOND: I don't know. Look, I don't understand how any of this works any more than you do. It... sighs Look, I know it happened. Daniel Faraday knocked on the hatch door and told me to go to Oxford... everyone was in danger, and I was the only one that could save them. I know how insane it sounds. gets up and puts on his coat. He walks over to Penny. DESMOND: I'll be back by dark, and then I'm done... forever. Chuckles I promise. leans into her and kisses her on the lips. PENNY: If you're gonna promise me something, Des, can you promise me you'll never go back to that island again? DESMOND: Scoffs Why in God's name would I ever go back there? opens the door and walks out, looking back. ---- - Hostiles drag the dead bodies of the two men from Oceanic Flight 815 out of the creek. Faraday watches with an arrow aimed at his back. Another Hostile binds Charlotte's hands, having bound Miles'. YOUNG BLONDE HOSTILE: Faraday There were twenty of you at the beach, but only five of you here. Where are the rest of your people? MILES: Maybe they got blown up by some more of your land mines. YOUNG BLONDE HOSTILE: We didn't put them here. You did. looks at Faraday. YOUNG BLONDE HOSTILE: Once we leave here, I will be out of control of what happens to you. But if you cooperate now, things will go much easier for you. So where are the rest of your people? FARADAY: I don't know. ---- dead body of Mattingly lays on the ground in the jungle. Jones and Cunningham kneel on their knees with their hands on the backs of their heads. Sawyer paces behind them with Mattingly's machete. Juliet looks over them with her arms folded. Locke sits on a log, his hand to his mouth in contemplation as he looks at the captured men. LOCKE: Who are these people? SAWYER: Well, gee, I didn't have time to ask that, with Frogurt on fire and all. JULIET: They attacked us on the beach. LOCKE: at Jones's rifle, which Locke now holds This is a 30-caliber M1 Garand rifle. It looks new. SAWYER: Who cares about the rifle? Where the hell you been? LOCKE: If you've been going through what I have, James, maybe the more appropriate question would be, when the hell have I been? SAWYER: What happened to your leg? LOCKE: I got shot. SAWYER: By who? JULIET: We can swap stories later. We told the rest of our group that we would meet them at the creek. If there's any chance of reconnecting with them, we'd better get moving. SAWYER: Fine, seeing as we have no rope to make sure these two don't try to kill us again. Guess we're gonna have to shoot 'em. CUNNINGHAM: Jones, whispering Quare non sunt vestitus eis? ''(Why don't they have uniforms?) JONES: ''Tace! ''(Be quiet!) SAWYER: Jones on the back What? gets to his feet. JULIET: ''Cognoscitis qui sumus? (Do you know who we are?) SAWYER: What language is that? JULIET: They're speaking Latin. That one asked why we aren't in uniform, and this one told him to shut up. LOCKE: And how is it that they know how to speak Latin, Juliet? JULIET: The same reason I do. Because they're Others. swallows. ---- young blonde Hostile and six others, all in Army clothing, escort Faraday, Charlotte and Miles through the jungle on foot. Faraday notices that one of the Hostiles, who carries a bow and arrow, has bloody bandage wrappings over both hands. Miles looks around, sensing something. MILES: to Faraday Hey. FARADAY: Yeah. MILES: We just walked over a fresh grave. FARADAY: What? MILES: Four U.S. soldiers, dead just under a month. Three of them were shot. One died of radiation poisoning. FARADAY: Miles, hey, hey. Did any of them happen to mention what year it is? YOUNG BLONDE HOSTILE: We're here. group emerges into the clearing on the Mesa, where an Army tent camp of at least nine olive-colored tents has been erected among a half-dozen adult palm trees. There is activity at the camp, with other men carrying supplies and campfires smoldering. The group heads to the central tent which has been pitched to be open-air in the front, with a canvas shade canopy forming a sort of foyer. YOUNG BLONDE HOSTILE: Richard! We're back. of the darkness of the tent's interior steps Richard Alpert, looking the same as ever and wearing a blue button-down shirt and blue slacks. YOUNG BLONDE HOSTILE: Caught these three by the creek. This one's their leader. RICHARD: What's your name? FARADAY: What's your name? smiles at Faraday's haughtiness. RICHARD: My name is Richard Alpert. I assume you've come back for your bomb. Act 3 - Pan down from a church tower, as the bells sound. Desmond crosses to a familiar columned-and-arched passage. We are in Oxford. Inside an archives filled with stacks shelved with record-boxes, a librarianish-looking woman sits behind a desk and taps at a keyboard and looks at a flat-screen monitor. ARCHIVIST: accent No, I'm sorry, sir. I'm not finding a record of any Faraday. DESMOND: No, that—that's impossible. 'Cause I know her son was a professor here. His name's Daniel Faraday. I'm sure he's in your database. ARCHIVIST: Sir, there's no record of any Faraday ever having been employed here at Oxford. DESMOND: Insistently I visited him. I went to his lab. It was in an attic. It was... sighs it was above the physics department. archivist keeps typing on keyboard. ARCHIVIST: The archives go back quite far. Perhaps there was a clerical error. You don't happen to recall the year it was in which you last visited? DESMOND: The year? ...No. I'm not exactly sure. ARCHIVIST: May I ask why you're seeking this information? DESMOND: Chuckles Sorry I wasted your time. walks away. ---- outside on the campus, Desmond searches a corridor, passing a number of doors marked "LAB" to come to one marked "DEPARTMENT OF PHYSICS - CLAREDON 142-08". Stepping inside, he comes to a locked door that has a "DANGER - THIS ROOM IS UNDER FUMIGATION - DO NOT ENTER" sticker sealing it. Desmond looks around, checks the doorknob, and then shoulders his way into the room. He closes the door behind him. It's dark. A flip of the lightswitch reveals little but apparatus draped in white dustcloths and overturned file boxes. In the corner of the room, Desmond spots a chalkboard, similarly shrouded. Desmond pulls off the cover—it's blank—wiped clean. Desmond wipes his head, then steps backward and notes that he's trodding on some spilled files. Reaching down, he fishes out something in a frame. Desmond wipes the dust off the cracked glass with his fingers to find a photograph taken just outside on the Oxford campus—Daniel Faraday and a pretty woman with blonde, curly hair and red lips. Desmond tugs on another draping white cloth and discovers the emitter of Faraday's experimental machine with which he irradiated the rat Eloise during Desmond's visit all those years ago. Desmond pulls the cloth some more, and there is Eloise's wooden maze, tipped on its side and propped up against a table. CUSTODIAN: accent Yeah, I wouldn't touch that. Desmond looks up to see a scruffy-looking janitorial custodian has discovered Desmond's intrusion. The custodian rests his old-fashioned toolbox on one of the room's piles. CUSTODIAN: I wondered when someone'd figure out we weren't just fumigating here. closes the door. CUSTODIAN: You a professor? DESMOND: No. Not exactly. CUSTODIAN: Well... at least you're honest. custodian enters the room and quickly begins re-covering the rat maze. DESMOND: So why'd you tell me not to touch it? CUSTODIAN: Because I'm the one who had to take the rats that he made run through this bloody thing down to the incinerator so that no one would find out what he was up to. DESMOND: You mean Daniel Faraday. CUSTODIAN: Yeah. You're not the first one to poke around here, asking about him and his work. Rumor had it, he was trying to send rats' brains back in time. Ridiculous, innit? tarp rustles as the custodian finishes putting it back on. DESMOND: Aye. CUSTODIAN: Look, I'll forget you broke my lock if you tell your mates that all you found was rubbish left behind by a madman. DESMOND: Fair enough. turns to leave, then turns around again. DESMOND: Faraday—the university says there's no record of him. CUSTODIAN: Well, can you blame 'em? I mean, after what he'd done to that poor girl? DESMOND: What girl? ---- - Miles, Charlotte and Faraday, each with their hands bound in the front, are pushed through a flap into an Army tent by a hostile man in fatigues carrying a bow and a quiver full of arrows. Faraday takes offense at the roughness with which they are treated and pushes back a little. FARADAY: Hey, take it easy. Hostile exits. Inside the tent is a table, some benches, and some stacked crates and containers. CHARLOTTE: It's all right, Dan. I'm fine. sits down on a bench. Charlotte sits opposite him. MILES: Resignedly We are so dead. FARADAY: down Hey. No, no, no. We are not so dead. We're gonna be fine. We just need to keep it together until there's another flash. All right? Then all this disappears. MILES: And when's that gonna happen? FARADAY: Could be five minutes. Could also be 5,000 years. MILES: That's—that's just awesome. CHARLOTTE: What is going on, Dan? Why are they doing this to us? FARADAY: I'm not sure. But they must think that we're with the American military. And if that's the case, our best chance of staying alive is to let them keep thinking it, all right? Let— pulls the flap open and steps into the tent. The young blonde Hostile and the bow-and-arrow-wielding male Hostile both follow. RICHARD: Sorry. Am I interrupting? Ellie tells me that you're not willing to reveal where the rest of your squad is. FARADAY: And why would I do that? So you can kill them, too? RICHARD: We didn't start this, friend. Your people attacked us. You come to our island to run your tests, you fire on us, and what, you expect us not to defend ourselves? FARADAY: I don't know anything about that. We are scientists. ALPERT: So what? So they sent you here to recover it? FARADAY: If you mean our hydrogen bomb, then yes. And I'm guessing from this man's radiation burns that the housing has been compromised. Is that right? looks down at the hands of the male Hostile, which are covered in bandages. FARADAY: You need to listen to me. You have an unstable device that's capable of destroying this entire island, and it's broken. If you don't allow me to render it inert, all of us are gonna die. All of us. RICHARD: How do I know you weren't sent here on some suicide mission? That I'll take you out to the bomb, and you'll just detonate it? FARADAY: Because... I'm in love with the woman sitting next to me. And I would never... I would never do anything to hurt her. RICHARD: All right. Take care of your bomb. But you try anything else, and you will hurt her. ---- the jungle, Locke walks, carrying the rifle and flipping the compass over in his hand. In front of him march the two captured Hostiles, their hands clasped together on the backs of their heads. Sawyer's in front of them, and Juliet leads. SAWYER: So who taught you Latin? JULIET: Others 101. Gotta learn Latin—language of the enlightened. SAWYER: Smiling Enlightened, my ass. LOCKE: Cunningham I suggest you talk to us. Once we get back to the creek and meet up with the rest of our people, there's gonna be a lot of anger directed at you for attacking them. CUNNINGHAM: accent The rest of your people are either captured or dead. LOCKE: What? him What makes you say that? stop walking. CUNNINGHAM: That idiot shouted out, "Meet at the creek." We knew exactly where they were going. We sent a group after them. turns and glares at Cunningham. SAWYER: Well, maybe I should've said it in my secret language. JULIET: past Sawyer James, wait. puts a hand on Juliet as if to stop her from attacking Cunningham, but she stops and speaks in a tongue. JULIET: Nos non sumus hostes vobis. We are not your enemy. CUNNINGHAM: Itaque nos liberate. Then let us go. SAWYER: What the hell are you sayin'? JULIET: Duce nos ad vestra castra. Take us to your camp. Si placet. Please. CUNNINGHAM: Quare hoc faciam? Why would I do that? JULIET: Estne... Ricardus ibi? Is... Richard there? Ricardus Alpert? Richard Alpert? looks over to Jones. LOCKE: Did you just say "Richard Alpert"? JULIET: John, please. Duce nos ad vestra castra. Non necesse est alium mori. Si placet. Bring us to your camp. No one else has to die. Please. CUNNINGHAM: All right. Okay, we need to head east another couple of kilometers until we hit the ridge— runs over to Cunningham and grabs him by the head, twisting his neck and snapping it. Cunningham's body lands with a thud. Jones takes off running. SAWYER: Shoot him! lifts his rifle and takes aim. Jones runs off into the jungle, panting. Locke lowers the rifle. SAWYER: Shoot, damn it! steps forward and yanks the rifle away from Locke. He takes aim and fires. Jones hops a bit, but continues running. It is unclear whether he is hit. SAWYER: Are you crazy?! What were you thinking? Why didn't you shoot him?! LOCKE: Because... he's one of my people. Act 4 - Desmond, dressed in a navy blue ballcap, sunglasses, and a scarf, strolls a street of English row houses in late autumn. He stops, consults a piece of paper, and squeaks open a wrought iron gate. Stepping inside the small yard, he gives three knocks to a brass knocker on a white front door. A middle-aged woman wearing the uniform of a convenience store — a red vest in a "QUIKMART" patch — answers the door. ABIGAIL: accent And who might you be? DESMOND: Uh, my name's Desmond Hume. I'm looking for Theresa Spencer. ABIGAIL: I'm Abigail Spencer. Theresa's my sister. DESMOND: Oh, right. Um, can I have a word with her? ABIGAIL: You want to speak to Theresa? DESMOND: Yeah, I got her name from a—a gentleman I met at Oxford University...um... Daniel Faraday. looks at Desmond sternly. ABIGAIL: Daniel Faraday? Well, why didn't you say so? Please, you must come in. DESMOND: Thanks. steps in and removes his cap and sunglasses. Abigail opens a sliding door and leads Desmond into a room where a monitor beeps steadily. Desmond looks aghast at a bedridden woman being fed by a male nurse. The woman is middle-aged, with blonde, curly hair. She was probably once attractive, but now she is an invalid. The woman's eyes are open, and she accepts the spoon into her mouth, but she is otherwise unresponsive to those around her. The bed is a hospital bed and an array of medical machines lines the room. ABIGAIL: her arms He didn't tell you, did he? DESMOND: No. No, he didn't. Can she hear us? ABIGAIL: No. Theresa's away right now. DESMOND: "Away"? What do you mean? ABIGAIL: Well, sometimes she wakes up, thinks she's 3, wants to know where her dolly is. Yesterday, she was talking to our dad. He died five years ago. DESMOND: I'm sorry. Um, this was a mistake. I... I shouldn't have come. moves to leave. ABIGAIL: Of course. Why would you want to stay? Daniel certainly didn't. DESMOND: Turning He left her like this? ABIGAIL: Went running off to the States, never to be heard from again. He abandoned her. What kind of a man does that? I seriously don't know what we would've done if it hadn't been for Mr. Widmore. DESMOND: Uh, I'm sorry. Who? ABIGAIL: Daniel's benefactor. He funded his research, and he took responsibility for the result of it. He's been taking care of Theresa ever since this happened to her. Everything here is due to Mr. Widmore, God bless him. ---- - Inside a tent in the Army camp, Charlotte, Miles, and Faraday discuss their situation, each one's hands bound together in the front. MILES: A hydrogen bomb? Seriously? FARADAY: Back in the '50s, the U.S. Government tested H-bombs in the South Pacific. MILES: Lucky us. CHARLOTTE: You didn't have to say that. FARADAY: Say what? CHARLOTTE: That you loved me. I mean, there are plenty of other ways you could've convinced him you weren't gonna blow up the entire Island. FARADAY: I said what I said because I meant it, Charlotte. blue eyes sparkle. Ellie enters, carrying a rifle. ELLIE: Right, then. Let's go. picks up Faraday's pack. FARADAY: Back soon. I promise. exits the tent through a flap, and Ellie follows. Faraday walks through the tent camp, his hands still bound in front of him. He comes to Richard, who unbinds them. RICHARD: Whatever your, uh, your superiors told you, I want you to know the truth. A month ago, we found 18 members of an Army battalion right here in our jungle here, setting up this camp. We gave them the opportunity to leave the island peacefully. They weren't willing to do that, so I was forced to kill 'em. All of 'em. FARADAY: Forced? RICHARD: Yeah. FARADAY: By whom? RICHARD: Y—you answer to someone, don't you? You follow a chain of command, right? FARADAY: Yeah. RICHARD: Yeah, well, so do I. comes running into the camp. JONES: Richard! Richard! ALPERT: What the hell happened to you? JONES: Cunningham and I — a group of them surprised us. We were outnumbered, but I escaped. ELLIE: Outnumbered, eh? JONES: Shut up, Ellie. Who's this? RICHARD: He's gonna help us take care of our problem. Ellie You'd better get going. JONES: Wait. He's one of them. You can't actually trust him. RICHARD: Yeah, you heard me, Ellie. Go. marches off with Faraday at gunpoint. RICHARD: H—how did you escape? JONES: I ran. RICHARD: And it never occurred to you that they might follow you? JONES: Follow me? Their leader is some sodding old man. What, you think he can track me? You think he knows this island better than I do? ---- the cover of palm fronds above the valley, Locke, shading his eyes with his hands, scopes out the situation. Juliet joins him. LOCKE: How did you know Richard would be here? JULIET: Richard's always been here. LOCKE: How old is he? JULIET: Old. Why are you so interested in Richard, John? LOCKE: I'm interested in him because he was about to tell me how I could save us. JULIET: "Save us"? LOCKE: Yeah. But before he could finish, we were interrupted by that flash of light. And I'm hoping we can pick up where we left off. joins them. SAWYER: I hate to bust up the "I'm an Other, you're an Other" reunion, but Faraday — the guy that's actually gonna save us — is being death marched into the jungle right now. far away below them, Ellie still has her rifle trained on Faraday's back. LOCKE: Good luck with that. SAWYER: You're not gonna help me save him? LOCKE: No. I'm gonna go down and finish my conversation with Richard. SAWYER: That's gonna get us all killed. You go rolling in there, they're gonna know we're here. LOCKE: Fair enough. I'll give you ten minutes head start. starts heading down the hill. SAWYER: What about you? You wanna stay here in Crazytown or help me rescue the geek? ---- keeps an eye on Faraday, and he keeps an eye on her as they walk through tall grass. ELLIE: Why do you keep looking at me? FARADAY: No, no, I'm—I'm not. I— ELLIE: You are. FARADAY: You know what? You're right. I'm—I'm sorry. It's just... you look so much like... someone I used to know. ELLIE: Someone other than the girl you just professed your love for? Well, aren't you the Romeo. FARADAY: Far from it, believe me. stops walking, and Daniel turns around. ELLIE: I don't believe you, by the way. You may have Richard fooled, you can't really expect me to believe that you, a British woman and a Chinese man are all members of the United States military. Who are you and what are you doing on our island? FARADAY: You wanna know who I am? approaches her, and she backs up. FARADAY: I'm your best chance at disarming that bomb. ELLIE: Right, then, disarm it. points with her rifle over to her left. Faraday turns and spots a fairly short wooden firing tower surrounded by discarded wooden pallets and crates. On the firing tower, a wooden ladder leads up to a second-story perimeter platform. In the middle hangs a large green bomb that sways in the breeze. Act 5 the valley Ellie points her rifle skyward. On the second story platform of the firing tower, Faraday circles the H-bomb, which has been painted green with yellow trim and labeled, in white, "JUGHEAD". On the side of the bomb, a small access door has been labeled "TRIGGER CONTROL PANEL". Faraday leans in to get a closer look. ELLIE: What are you doing up there? FARADAY: I'm examining it. leans down and underneath the platform edge guard chain, and feels the edge of the bomb. He notes a seam in the metal has corroded like a bad battery. Alarmed, he jumps back, heads to the edge of the firing tower, climbs down the ladder, and begins walking quickly toward Ellie. FARADAY: Back up. ELLIE: What? FARADAY: Get back, get back. It's unsafe. We need to move. Ellie complies, but only for a few meters. She re-points her gun and stops Faraday's advance. ELLIE: I swear, if you try anything... FARADAY: If I try anything—what, you're gonna—you're gonna shoot me? Is that right? Yeah, that would be perfect because, of course, rifle fire right next to—what would you call this—hydrogen bomb? Yes, fantastic idea. Really... inspired. Okay, listen to me. Do you people have any access to lead or concrete? ELLIE: For what? FARADAY: There's a crack in the casing. It needs to be filled with lead. You need to take it off this platform carefully and bury it. ELLIE: You brought me all the way out here to tell us that we have to bury it? You told Alpert you could disarm that thing. FARADAY: You don't need to worry. You do what I say, you bury it, it won't go off. ELLIE: How do you know that? FARADAY: I need you to trust me. ELLIE: I don't trust you. FARADAY: Just bury it. Bury it, and everything will be fine. Remember, your superior ordered me to take care of this. ELLIE: How can you be so sure? FARADAY: You wanna take care of this bomb? ELLIE: How?! FARADAY: You bury it! ELLIE: How do you know that? FARADAY: Because 50 years from now, this island is still here! cocks her rifle. FARADAY: There you— sighs ELLIE: What did you just say? FARADAY: Whoa. Take it easy. I can explain myself a little better. I know how this sounds. Believe me, it's... oh, it's hard to explain. 50 years from now, me and my... me and my friends—that's where we're from, okay? And—here's the key—everything's fine. I'm not saying it's perfectly fine, but there hasn't been any atomic blast, all right? There has not— jumps out from behind some foliage with a rifle of his own pointed at Daniel's captor. SAWYER: Drop the gun, Blondie. FARADAY: It's okay. She's okay. You can put your gun down. SAWYER: She puts hers down first. emerges with Mattingly's machete. JULIET: Why don't we all put our guns down? SAWYER: I said, drop it! drops her rifle, and puts her hands up. Juliet takes the gun. Sawyer looks up and notes the firing tower, with "Jughead" hanging precariously, swaying not too gently in the wind. SAWYER: Whispers Son of a bitch. ELLIE: Faraday, with some sarcasm Are they from the future, too? SAWYER: You told her? ---- - An elevator bell dings. Desmond steps out into a posh business lobby, and marches right past a secretary who sits in front of a Jackson Pollock painting. Melanie appears to be of Indian or Southeast Asian origin, and is quite piqued at Desmond's ignoring her. MELANIE: accent Sir! Sir, you can't— throws open the double doors to Charles Widmore's office, where Widmore sits at his desk reviewing some papers. Desmond locks eyes with Widmore as he approaches Widmore's desk. Melanie enters. MELANIE: Mr. Widmore. I'm so sorry. He charged right past me. WIDMORE: That's all right, Melanie. Mr. Hume is a... colleague of mine. tall security goon steps up and awaits the word, but Widmore only holds up an halting palm. WIDMORE: Please leave us. and the goon go, and shut the doors behind them. DESMOND: I know you have questions for me. I'm not gonna answer them. I've come here to ask you something. And once you've told me everything I need to know, you'll never see me again. Understand? WIDMORE: All right. DESMOND: I need to know where I can find Daniel Faraday's mother. WIDMORE: What makes you think I would even know the answer to that? DESMOND: Because even before you put Faraday on your little boat and sent him off to the Island, you spent ten years funding his research. So I figure, you must know something regarding his next of kin. WIDMORE: Desmond, I haven't seen or heard from my daughter for three years. Just answer me this. Is she safe? DESMOND: Where's Faraday's mother? deliberates, then condescends to open a small wooden chest sitting at the right of his desk, wherein he finds a common leatherbound address book. WIDMORE: Sighs She's in Los Angeles. This is an address for her. copies the address to a memo pad and rips off the paper. WIDMORE: I suspect she won't be pleased to see you. She's a very private person. folds the paper and hands it to Desmond. Desmond takes it, unfolds it, and reads it. Then he turns and leaves. WIDMORE: Wait, Desmond. stops. Widmore gets up and walks nearer. WIDMORE: Deliver your message... but then get out of this mess. Don't put Penny's life in danger. DESMOND: Danger? WIDMORE: You're getting yourself involved in something that goes back many, many years. It has nothing to do with you or my daughter. Wherever you were hiding... whispers go back there. DESMOND: Scoffs Thanks for the advice. opens the door and leaves. ---- - Locke descends into the valley where the Army camp is stationed. LOCKE: Richard Alpert! who is seated and having his wounds tended to with some hot water courtesy one of the other Others who has also commandeered some military clothing, takes note of the intruder. JONES: Hey. Hey! LOCKE: Jones I'm looking for Richard. JONES: Don't move. gets up and picks up his rifle. A number of other Others are following cautiously as well, one of them covering Locke with a bow and arrow. LOCKE: Richard Alpert! JONES: On the ground now. LOCKE: Richard, I need to talk to you! follows Locke... JONES: Shut—your—mouth! cocks his rifle at Locke's back. Locke raises his hands. RICHARD: That's enough! Who are you? approaches from one of the tents. LOCKE: Sighs My name is John Locke. RICHARD: Is that supposed to mean something to me? LOCKE: Jacob sent me. two regard each other for several moments. RICHARD: Jones Put the gun down. JONES: What? Richard, you can't seriously trust him. walks over to Jones and slaps the rifle down. RICHARD: I said... put the gun down, Widmore. LOCKE: Jones Your name is Widmore? Charles Widmore? WIDMORE: What's it to you? LOCKE: Nothing. Nice to meet you. Act 6 - Penny lays curled up on a little couch with little Charlie below deck of their sailboat home. Penny holds a stuffed animal. The lad appears fast asleep by her side. Without reading from any book, she recounts a delightful bedtime story to her son. PENNY: ...and the fishy suddenly peeked out, but it saw the bear so that it ran away again. whispers Where—? looks up and notices an intruder. DESMOND: Whispers Hi. PENNY: Whispers Hi. gets up. Desmond enters and takes off his scarf. Penny begins folding some laundry. DESMOND: Good day? PENNY: Yeah. He wanted to go fishing in the Thames. We were unsuccessful. And you? Did you find Faraday's mum? DESMOND: Ugh. There was no one to find. She, um... she died a few years ago. PENNY: Why are you lying to me? DESMOND: Scoffs What? I'm not. PENNY: Where is she? DESMOND: Sighs She's in Los Angeles. turns away. DESMOND: Look, Pen, you've got nothing to worry about. You know, this was a mistake. No, I... I made a promise that this would be done in a day, and now it's done. It's not our problem anymore. PENNY: Sighs And what happens if you wake up tomorrow and remember something else? DESMOND: Then I'll forget it. PENNY: And the next day? DESMOND: I'll forget it. It doesn't matter, Pen. You're my life now—you and Charlie. I won't leave you again... not for this... not for anything. holds Penny's head in his hands. Penny becomes gradually more incredulous. PENNY: Scoffs You'll never forget it, Des. So I guess we're going with you. holds him, and gives him a peck on the cheek, and hugs him. ---- a tent at the Army camp on the Island, Richard examines a compass in his hands. Locke sips from a WWII-era tin canteen cup. They both sit in chairs. RICHARD: I gave you this? LOCKE: Yes. RICHARD: After you were shot in the leg and I... wandered out of the jungle to patch you up? LOCKE: That's right. RICHARD: Then why don't I remember... well, any of this? LOCKE: Because it hasn't happened yet. RICHARD: Chuckles I'm not sure what you're expecting me to say, John Locke. LOCKE: I expect you to tell me how to get off the Island. RICHARD: That's very privileged information. Why would I share it with you? LOCKE: Because you told me that I had something very important to do once I get there. And because I'm your leader. RICHARD: You're my leader? LOCKE: That's what you told me. RICHARD: Look, I... certainly don't want to contradict myself, but... we have a very specific process for selecting our leadership, and it starts at a v—very, very young age. LOCKE: All right. All right. What year is it right now? RICHARD: It's 1954. LOCKE: All right. May 30, 1956—2 years from now—that's the day I'm born—Tustin, California, and if you don't believe me, I suggest you come and visit me. smiles at Richard, then perks his ears up and looks around. A high-pitched humming pervades the Island. LOCKE: Oh, no. RICHARD: What's wrong? LOCKE: It's about to happen again. You need to tell me now, Richard. How do I get off the Island? Please! Tell me! humming transitions into a rumbling; the rumbling grows louder and the scene is bathed in white light. The light envelops everything, and when it subsides, Locke is left standing alone, sans tent, sans camp, sans everything but a few palm trees and, some paces away, Charlotte and Miles, still bound by their hands. Locke turns several times, then folds forward and puts his head in his hand. Not far away, Juliet, Sawyer and Faraday recover from the flash. SAWYER: You all right? JULIET: Yeah. I think so. spots Charlotte not far away. FARADAY: Charlotte! runs to her. FARADAY: You okay? CHARLOTTE: Yeah, I'm fine. touches her arms and begins unbinding her hands. MILES: Yeah, me, too. I'm great, too. CHARLOTTE: Ahh. smiles gratefully and looks for a moment as if she is in ecstasy. Faraday touches her hair. Then her eyelids flutter and she stumbles. She turns away, begins bleeding from both nostrils, and seizes. FARADAY: Charlotte. gasps and falls forward. Faraday kneels and turns her over. FARADAY: Charlotte! Charlotte! Charlotte! No, no, no. Look it. Hey. Look at me, look at me. and Locke come running in concern. Faraday gently shakes her. FARADAY: It's okay. It's okay. Charlotte! picks her up and hugs her close to him. de:5.03 Die Bombe/Transkription Category:Season 5